Perspectives: Why Miriam Hyde?
Easy: because her music appeals to every aspect of my teaching and performing practice.
Over the years, especially as a ‘student’ pianist, I always wondered if I was going to find my niche. Much the same as Ashkenazy, Lortie, and countless others have traversed the complete works of Chopin, I wanted to find the composer who was going to be just for me; I was so frightened of becoming a modern-day pianist who was required to “specialise” in everything. It’s not that I don’t see the value in being multifarious in an approach to music, I just wanted a composer where the passion would be continually ignited; playing their music would be “my” thing.
Thankfully, I found that in the music of Miriam Hyde. Oddly enough, this has been going on for years without me recognising it.
It began with a grade 6 exam – my first ever piano exam, I might add. I remember hearing a piece by Hyde called Woodland Sketch and wanting to learn it. The girl in my class who used to play it was, herself, a marvellous pianist and I was forever asking her to perform it for me; it was my first Miriam Hyde experience. The piano exam allowed for the last piece to be an “own choice” item, so I leapt at the opportunity to play Woodland Sketch. The rest is history and I have recorded it and performed it ever since. I use it for encores, I teach it to my students, and I am fairly certain that it will remain a piece very close to my heart for years to come.
This lead to experiences with other, beautifully characteristic pieces on the AMEB exam list: Ear Rings from Spain, Minarets, Study in A minor, Water Nymph, and Scherzo Fantastico. At university, I performed many of her concert works and even accompanied a few of her songs. This opened the doors to many of her poems and her autobiographical work, Complete Accord. Among all of this, I got to perform The Fountain and Study in Blue, White, and Gold for her in a workshop environment. I always viewed her as quite a stern woman in her approach but, after the workshop, I experienced a gentle nature which I continue to remember fondly; it remains my last interaction with her.
Since then, my research has been concerned with investigating her pedagogical and concert works for piano. Miriam was a fine concert pianist with a formidable technique – the evidence of this can be found in the recordings of her piano concerti among others. These pianistic elements filter their way through to her compositions from Preliminary to LMUSA and many of these works (Woodland Sketch included) remain the favourites of piano student and piano teacher alike.
With companies like The Keys Press in Perth, Wirrapang Publishers in NSW, along with wonderful people like Dr. Rita Crews, Phillip Wilcher, Hyde’s daughter Christine Edwards, and Professor Larry Sitsky, there is now a growing collection of information regarding her life, pianism, and seemingly endless list of achievements. I am fortunate enough to be adding to that with what is the largest recorded collection of her works for piano (80 videos so far on youtube!). Even though I have a long period of work ahead of me, I am indebted to many of these Australian luminaries for their help. Their writing and, in some cases, their friendship, has helped motivate me even more. I am always discovering new things about Miriam Hyde – there is never a dull moment. I continue being in love with the process of shining light on her work as I progress with honours and masters research.
My first CD will be released in August. It has been recorded and is now in post production. The Complete Piano Music of Miriam Hyde Volume 1 is a labour of love. I specifically searched for recording studios in Sydney and was over the moon when I found Sound Heaven Studios in The Blue Mountains – a place Miriam admired. It felt good to record this music surrounded by such beautiful scenery, which, in essence, is what Miriam’s music is all about.